ryan rapsys :: composer, producer, musician, filmmaker

Antiquichrome || Ryan Rapsys
Deep explorations into microsound electronic ambience.

The-Novus-Arcadia CD, a feature length compact disc by Ryan Rapsys – “Overall, [The-Novus-Arcadia's] an immensely enjoyable experience, and it could well become a piece of electronic art that may be a required listen in the near future.” – Muse’s Muse, 7/31/2007

While reading, you may want to hear music by the artists mentioned here, among other eclectic artists and musicians, for free: Live365 Radio: Erratik Music

TABLE OF CONTENTS

ABSTRACT

INTRODUCTION

DEVELOPMENT of Genre
Chronology and Influences

CHARACTERISTICS That Attract
Rhythms
Bass
New Sounds

ANALYSIS
“My Red Hot Car” – Squarepusher
“Cock/Ver 10” – Aphex Twin
“Gantz Graf” – Autechre

CONCLUSION: The Future?

WORKS CITED

ABSTRACT

In the past ten years, a sub-genre of electronic music commonly termed “Intelligent Dance Music,” or IDM, has gradually attracted a growing number of fans. This music’s primary characteristics include changing meters, complex rhythms, extremely different timbres. IDM artists draw on any and every aural influence possible, thus creating extremely complex, eclectic works. However, hidden deep within the chaotic, interwoven rhythms and sounds lie certain characteristics that allow this music to have a unique appeal to a somewhat large and constantly growing audience. Therefore, IDM’s exploitation of certain rhythmic and timbral characteristics hidden deep within the music must be connecting with audiences in some way. The exploration and examination of the history and primary influences of this genre will allow these hidden musical characteristics to become much more exposed, demonstrating that they clearly function in such a way as to entice a strangely wide range of music listeners.

INTRODUCTION

In 1992 the album Artificial Intelligence [Amazon.com] was released, a compilation of music termed as “electronic listening music” by the label who released it, Warp Records. Since then, a number of artists and a growing number of fans have become interested in this rather obscure musical anomaly. Although now most commonly termed “Intelligent Dance Music,” or IDM, the music is primarily intended for private, home consumption rather than dancing. Changing meters, complex rhythms, extremely different timbres: all of these characteristics help define IDM to some extent. IDM is also somewhat improvisational/aleatoric (thus often innovative), and often may be described as a type of popular art music (popular, in this particular context, is meant to indicate non-classical music intended for a particular audience for mass consumption) (Shapiro 171-72).

The term “dance” in Intelligent Dance Music actually refers to the use of the techniques and technologies of electronic dance music rather than implying that this is music to dance to. The complex rhythms and structures somewhat discourage physical release. The release is far more cerebral, similar to many contemporary classical electronic composers, who happened to have served as influences for artists working in this genre. Sometimes termed “Downtempo,” some of the original thoughts on the function of this music revolved around the concept of post-rave music: music designed for the conscious mind to consume when the body is too exhausted to dance (Shapiro 172). In any case, sonic experiences, sometimes verging on the spiritual, are often the desired results sought after by these artists. There is an extreme sense of innovation which is multiplied by the incredible passion of these artists. Often working for as many as sixteen hours a day for their own self-indulgence (such as in the case of Squarepusher [Amazon.com]), these artists create electronic music on the realms of the avant-garde that somehow have this unique ability to capture the attention of even the most average music-listener for at least a track or two.

Drawing from a variety of influences, the eclecticism of IDM is often overwhelming. Many artists working in this genre have cited contemporary classical composers such as Iannis Xenakis [Amazon.com], Karlheinz Stockhausen [Amazon.com], Steve Reich [Amazon.com] and Philip Glass [Amazon.com] as influences. Additionally, these artists also draw from many other styles of music, sometimes incorporating elements of jazz, funk, hip-hop, rock, African music, pre-20th century classical music, among just about any other thinkable style. These artists are certainly not afraid to allow any kind of aural stimulation, musical or non-musical, to become an influence, or even a basis, for another work.

Hidden deep within the chaotic, interwoven rhythms and sounds lie certain characteristics that allow this music to have a unique appeal to a somewhat large and constantly growing audience. Concepts of syncopation and “groove,” comparable to funk, jazz, or any other style of music that contains that sense of groove in a meter pattern of four, are clearly present in this type of music. However, these artists stretch and morph these elements, camouflaging them in order to create a rhythmic jolting effect. Perhaps drawing from hip-hop and dancefloor/rave techno, IDM tracks also often contain well-programmed bass designed to be experienced with a home or car audio system that has a subwoofer. Often utilizing non-musical source sounds and electronically manipulating them beyond recognition, this music contains a variety of incredibly different sounds, utilizing the full palette of aural colors available to any artist working with electronic music. All of these elements combine to form a music that is so incredibly different and sometimes difficult, yet often very approachable to a considerable audience that continues to grow.

Three IDM tracks, chosen because they epitomize this particular genre as well as clearly use the above mentioned elements, will be examined in detail in order to create better understanding of this unique style. Tracks and examples referred to throughout the paper will be made available for download as possible.

Today’s music world is unique compared to any other time in the history of music. It is an incredibly small music world, one in which anybody can have access to listen to anything they want. Because of this, music is evolving at a faster pace than it ever has. The advent of the integration of electronics in music in the 20th century has also created massive changes. Not including classical art music, which primarily focuses on the concept of pure art without mass consumption necessarily in mind, Intelligent Dance Music is one style of music which grows out of this sense of evolution and innovation directly. However, it has managed to draw a somewhat large and constantly growing audience. Therefore, IDM’s exploitation of certain rhythmic and timbral characteristics hidden deep within the music must be connecting with audiences in some way. After the exploration and examination of the history and primary influences of this genre, these hidden musical characteristics become much more exposed, clearly functioning in such a way as to entice a strangely wide range of music listeners.

DEVELOPMENT OF GENRE

Tracing evolutionary lines through the infinite amount of musical styles and genres is often an incredibly difficult if not nearly impossible task. Tracing the evolution of Intelligent Dance Music is certainly no exception to this. Because the style often is defined by its extreme eclecticism, a large variety of influences exist. This section will focus on the primary historical events and influences that ultimately lead to the creation of this genre. However, it is important to realize that IDM is incredibly varied by its very own nature, and thus it is very difficult to make any concrete assumptions about its evolution or influences.

Chronology and Influences

In 1948, Pierre Schaeffer (1910-1995) broadcast on Radio France a collection of five pieces entitled (in English) Concert Of Noises. He composed these works by manipulating everyday sounds recorded on magnetic tape. He utilized the tape techniques of reversing, speeding up, slowing down, and overdubbing in order to create experimental sound collages. He termed this type of music musique concrète (Ernst 3).

By the late 1950s, musique concrète techniques began to seep into rock music, gradually becoming a major influence in nearly every style of music up to today. In 1957 David Seville (1919-1972, born Ross Bagdasarian) and the Chipmunks [Amazon.com] used tape transpositions to create high-pitched, cartoon-like vocals (Ernst 132). The 1968 album White Album [Amazon.com] by the Beatles [Amazon.com] contains a concrète piece entitled “Revolution Number 9” (Shapiro 20). This technique, in fact, has come to nearly define two modern styles of popular music in particular: hip-hop and electronic dance music. Intelligent dance music may very well be the epitome of complex sound manipulation techniques.

Naturally, musique concrète has evolved to utilize new technology. For example, far more complex manipulative techniques are available to any artist today with a computer. For example, a contemporary classical concrète piece entitled Agoraphobia composed by the author of this paper using a computer is available for download here: [agoraphobia.mp3]. This work utilizes a number of pre-recorded sounds and concrète techniques. The feeling of agoraphobia (an abnormal fear of open or public places) is depicted aurally by complex textures of mostly recognizable pre-recorded sounds. Some of the source sounds that can be heard within the piece include applauding, crowd noises, coughing, a band warming up, clanging silverware, a radio tuning, and the composer’s family singing “Happy Birthday” to him completely out of tune on his 21st birthday.

Karlheinz Stockhausen (b. 1928) [Amazon.com] was the first composer to realize a significant body of pure electronic music. He was thrust to the forefront with his experimentations of the 1950s, making him the primary figure of the post-war avant-garde (Prendergast 51-2). Branching into nearly every realm of the avant-garde through the use of electronics, Stockhausen’s work has been a considerable influence to artists working in any style of electronic music. IDM composers strive to create sonic landscapes as striking and refreshing as this German composer’s.

In the early 1970s, Krautrock was unleashed to the world. Groups like Can [Amazon.com], Neu! [Amazon.com], and Faust[Amazon.com], released albums that were similar to the late-sixties acid rock scene but far more focused and minimalist (Shapiro 27). However, it was the group Kraftwerk [Amazon.com] who would turn out to be the ones to bridge the gap between rock and electronic dance music. Kraftwerk conjoined ideas of the minimalist and aleatoric classical composers (such as La Monte Young [Amazon.com], John Cage [Amazon.com] and Steve Reich [Amazon.com]) with the work of avant-garde electronic classical composers (particularly Karlheinz Stockhausen [Amazon.com]). Their most well-known song, “Autobahn” (from the album Autobahn [Amazon.com]) is a twenty-four minute minimalist work filled with synthesizers, drum machine sounds, Beach Boys-influenced harmonies, and musique concrète sound effects derived from recordings of automobiles. Becoming a global hit in 1974, this work is clearly a precursor to techno (Shapiro 33-4). Through a number of other albums, Kraftwerk also influenced the beginnings of hip hop (Afrika Bambaataa [Amazon.com] used samples of Kraftwerk in his song “Planet Rock” from the album Planet Rock [Amazon.com]) (Shapiro 98-9), as well as the whole spectrum of electronic dance music. IDM artists today are notorious for being influenced by music that helped create modern electronic dance music, rather than modern electronic dance music itself. Kraftwerk is therefore a common influence.

By the late 1970’s, electronic music contained hundreds of sub-genres and styles. Usually correlated to location, the different styles would often take some time before spreading abroad. This is primarily due to the fact that many artists experimenting with new styles would release their albums independently in their own city. For example, Juan Atkins [Amazon.com] and Rick Davis sold ten to fifteen thousand copies of their release “Cosmic Cars” in Detroit alone in 1982, one of the earliest independent releases of what would develop into the sub-genre techno (Shapiro 115). Many artists would DJ at parties, clubs, or raves, promoting their creations by playing/performing their own tracks. Gradually, larger labels began to see the growing interest and signed these different artists, releasing and promoting on a much larger scale. Artists from different parts of the world would hear these different styles and become influenced, drawing on different combinations of styles and mixing them with their own, ultimately creating new styles. Once the Internet became established and the world suddenly shrunk to the size of a pea, all possible stylistic influences were suddenly at the fingertips of artists across the world. Intelligent Dance Music may very well be the product of today’s extremely small world because IDM artists draw on any and every musical style they happen to hear.

In the late 1980’s primarily in Great Britain, the rave phenomenon was in full throttle. People would gather together in abandoned warehouses or on beaches. These gatherings may be best characterized as “drugs, dance music, the libertarian spirit of the eighties, collective nostalgia for the counter-cultural engagement of the sixties, and the casual hedonism of British kids looking for a buzz” (Shapiro 132). Artists writing electronic music for this scene would instinctively create sounds and samples designed to generate Pandemonium on the dancefloor when heard by ravers under the influence of various drugs (Shapiro 133). However, as far as the connections between drugs and electronic music, audiences were more often pulled toward particular styles depending on their drug of choice. For example, cocaine and marijuana users were naturally more attracted to the electronic sub-genre known as Jungle, which is a mix of Reggae, Hardcore Techno, Hip-Hop, soul and jazz that contains fragmented drum loops (Prendergast 371). Because of its nature, IDM was initially listened to by ravers who still craved aural stimulation but do not have the strength to physically dance to it anymore (Shapiro 172). The lack of physical release was compensated by the extremely cerebral and spiritual release generated by the music.

Drum and Bass is perhaps the final sub-genre the revolutionary line of IDM runs through before finally being called Intelligent Dance Music and existing as its own sub-genre. Jungle artists gradually began to experiment more and more with morphed drum sounds and disjunct rhythms. As the original sound of Jungle became more and more clouded over by strange sounds and complex rhythms, the term Drum and Bass replaced Jungle (Prendergast 371). As the experimentation and programming flashiness continued, the term Intelligent Drum and Bass was then used to describe this music (Shapiro 144). The song “Eviscerate” off of Squarepusher’s [Amazon.com] Burning’n’ Tree [Amazon.com] album is an example of Drum and Bass electronic music. The computer-morphed drum sounds function as the melodic material while the other sounds are more decorative. From Intelligent Drum and Bass, it was only a small step further out to enter a world just too different from the original Drum and Bass sound that it had to be called something else. The hazy beginnings of IDM are the result of that small step.

IDM artists, as stated before, draw from any and all influences, including non-musical ones. For example, Squarepusher created a micro-genre within Intelligent Drum and Bass called Drill and Bass because of his use of electric drill sounds in place of snare drum or other percussive instrument sounds. IDM artists are also notorious for using recordings of natural conversations. Scanner [Amazon.com] is one such artist. As he stated in an interview, “…when I came across the scanner device about five or six years ago, it was a means of entering a very vulnerable intimate space without somebody knowing, achieving the ability to actually find a very clear sound, a very clear signal, and hear people that were not aware they were being listened to so they would talk in a very comfortable and very easy way” (Shapiro 184). Electronic music has always attracted musicians because of how it lends itself to experimentation. Utilizing non-musical sounds and making them musical is a compositional technique only fully at the disposal of a composer working in the realm of electronic music. IDM artists take full advantage of those kinds of experimental capabilities.

Ironically, a lot of IDM music is created in the same place it is intended to be listened to: the bedroom. Many IDM artists have their own studio in their home. Squarepusher [Amazon.com] once said, “I just like the idea of getting out of bed and getting your breakfast, coming back and you’re in the studio. You don’t have to go down the road, you don’t have to get on a bus to get to the studio. You are just there, it’s hands-on straight away, you wake up in the middle of the night and do a track–that’s what’s revolutionized it for me” (Shapiro, 70). Again, this relates also to the extreme experimental flexibilities of electronic music. With studios in their own homes, IDM artists have the freedom to experiment whenever an idea hits them. With the advent of computers, a home studio is not very expensive to build up. In fact, the author of this paper has a considerable home studio capable of creating extremely complex music, all bought with money saved up from bartending. This allows intuition and experimentation to fully become a part of the compositional process, which clearly helps with the creation of Intelligent Dance Music tracks.

A plethora of extremely complex rhythms, sounds, and programming, Intelligent Dance Music continues to evolve. Because the concept behind it is to be as extremely complex and mind-blowing as possible while maintaining emotional and spiritual energy at the same time, it is possible that IDM may continue to exist as a sub-genre of electronic music for quite awhile. IDM is therefore a unique style of electronic music (actually, of all music) because of the fact that it is not necessarily defined by the way it sounds but how it functions.

Clearly, IDM has a varied and complex chronology. Today, many tracks which may be considered to be IDM tracks exist, yet there are very few timbral qualities that help define it–the music’s function defines it, and IDM’s function is to stimulate the brain cerebrally and spiritually (whether it is in addition to other mind stimulators or not). Now that IDM’s chronology and influences are somewhat clearer, it is time to take a closer look at its musical characteristics.

CHARACTERISTICS THAT ATTRACT

Aural analysis of a number of tracks considered Intelligent Dance Music tracks reveals three somewhat constant characteristics. These characteristics seem to create the greatest amount of appeal to the largest amount of people. Therefore, through the logic of Utilitarianism (assuming this is a suitable subject to apply this philosophy to), one may conclude that these characteristics are the most basic requirements for a successful IDM track. Highly syncopated, complex rhythms, well-programmed bass, and an extremely varied aural palette all help create the desired reactions from listeners when utilized skillfully by a IDM artist.

Rhythms

IDM artists work with rhythm in a number of different ways. One consistent characteristic in the more successful tracks, however, is the element of “groove” which feels as though it is in a meter pattern of four, but often is not. The link below contains a sample track written by the author of this paper that exemplifies a rhythmic pattern in four. The other link below includes a sample track containing the same types of patterns. However, the author of the paper has modified it in order to demonstrate the kind of rhythmic characteristics of IDM tracks. Clearly, the rhythmic shifting and complex variations in the second example create much more rhythmic energy than the first example. The jolting effect of such rhythmic variations create a large amount of appeal as well as aid in creating the desired reactions in listeners. [four pattern; varied four pattern]

A couple other rhythmic techniques utilized by IDM artists include phasing and polyrhythms. In 1965, the classical composer Steve Reich [Amazon.com] composed a work entitled It’s Gonna Rain [Amazon.com]. This work for tape was composed by, as described by him, “letting two identical loops [of a preacher speaking] go gradually out of phase with each other” (Chadabe 77). The following link contains a track composed by the author: [Christmas Sketches]

In one section of the song, two identical audio samples of a voice saying “Mr. Grinch” gradually phase in a similar manner to Reich’s It’s Gonna Rain. Many IDM artists have utilized this technique of phasing developed by Reich. However, Reich’s influence does not stop there. Between 1974 and 1976, Reich composed Music for 18 Musicians [Amazon.com], commonly considered one of the single most important works to help shape the future of techno (Pendergast 110). This minimalist masterpiece contains elements of polyrhythms. Polyrhythm is the concept of having two or more metrical elements occurring simultaneously. It is similar to phasing, as the patterns will phase, but it remains within the pulse. The link below contains a short sample track composed by the author which contains the element of polyrhythm. Different rhythmic patterns of different lengths repeat in order to create a constantly changing rhythmic texture. [polyrhythm example]

Clearly, these rhythmic characteristics and experiments, as well as many others that are always being invented, add considerable rhythmic excitement to the works. IDM artists embrace and utilize rhythm to the fullest, using the extreme accuracy of electronic sequencers to create stimulating rhythmic effects.

Bass

Another element common in IDM tracks is the element of bass. Whether it is a bass drum or similar sound simulating a bass drum hit or a melodic bass line, IDM artists take great care in programming bass that exploits a subwoofer’s ability to project bass frequencies. In most popular music, bass hits are often fairly consistent, creating a pulsing vibration each time. However, IDM artists often utilize complex rhythmic patterns, as mentioned before. When these patterns include well-programmed bass, the result is similar to being on a type of aural rollercoaster–the resulting vibrations from the varied hits are rather unpredictable, jolting the listener all over. The track by Squarepusher [Amazon.com] entitled “My Fucking Sound” from his album Go Plastic [Amazon.com], demonstrates this concept quite well. This track fully utilizes well programmed bass in disjunct rhythmic patterns creating an extremely complex, unpredictable aural texture. Certainly, this use of well-programmed bass adds to the overall effect on listeners desired by these artists.

New Sounds

IDM artists often hold the concept that music can consist of any sound. Music is, in its broadest definition, sound in time. IDM artists definitely embrace that concept to the fullest. Electronic music lends itself perfectly to that concept. The track by Aphex Twin [Amazon.com] entitled “Bucephalus Bouncing Ball” from his EP Come To Daddy [Amazon.com], demonstrates the use of non-musical sound material. Aphex Twin recorded various rubber balls bouncing in a number of different containers and used those sounds as a basis for the entire song. Of course, this is only one example of the many different aural textures IDM artists experiment with. Every IDM track utilizes, to some extent, non-musical sounds as musical instruments. Especially when the sounds are recognizable, the resulting effect plays with the listeners memory in a psychological manner. Therefore, further disorientation is created, and thus even greater interest.

ANALYSIS

Now that the primary attracting elements are established, three works which epitomize these certain characteristics will be examined. “My Red Hot Car,” [Amazon.com], from the album Go Plastic [Amazon.com], by Squarepusher Amazon.com], contains complex rhythmic textures, well-programmed bass, and a variety of complex electronic timbres. “Cock/Ver 10,” from the album drukqs [Amazon.com] by Aphex Twin [Amazon.com], contains a variety of interesting electronic sounds in complex rhythmic structures. “Gantz Graf,” from the CD/DVD entitled Gantz Graf [DVD Single from Amazon.com, CD Single from Amazon.com] by Autechre [Amazon.com], contains striking electronic morphing sounds, heavily camouflaged, but still evident, elements of “groove,” as well as well-programmed bass. A closer look at these three tracks demonstrates how these techniques, when utilized to the fullest, create nearly disturbing (in a good way) reactions from listeners.

“My Red Hot Car” – Squarepusher
[CD Single at Amazon.com]
[Go Plastic at Amazon.com]
[Squarepusher at Amazon.com]

This single, released in 2001, may be considered one of the more popular tracks every released in the realm of Intelligent Dance Music. Utilizing minimalist techniques by repeating the same bass line with only subtle changes and variations each time, Squarepusher creates a very refreshing and rhythmically interesting sound world. Squarepusher structures this song somewhat like a traditional classical piece. The first section contains the primary melodic material (the electronically treated singing) while slowly introducing two primary sound motifs: some kind of ringing bell and a shouting, deeper male voice. In the middle section, he develops the material much in the same manner as Beethoven. This technique, in classical music, is called symphonic metamorphosis. He uses the same, short sound motifs and slowly changes them electronically each time. After this developmental section, he returns to the primary material once again, reestablishing the melody. Throughout the work, the well-programmed bass is within the repeating bass line, which varies each time. When listened to loudly with a subwoofer, the vibrations created are thus unpredictable, therefore creating the desired jolting effect. The shouting and bell sounds act as recognizable, natural sounds which vary electronically, therefore psychologically playing with the listeners memories of such sounds. Although the song primarily stays in a pattern of four, the complex syncopations and off-beat articulations as well as the chopping up of the melodic vocal line certainly create a disorienting rhythmic textures. All of these elements combine to create an exciting and fun IDM track.

“Cock/Ver 10” – Aphex Twin
[Drukqs at Amazon.com]
[Aphex Twin at Amazon.com]

Released in 2001, Aphex Twin’s double album drukqs may very well contain some of the most complex and mind-blowing IDM music to date. “Cock/Ver 10” is the eighth track on the first disk. This song contains two separate musical entities: ambient, melodic electronic sounds and extremely harsh, rhythmic textures. When these two separate sound worlds are combined in a sophisticated manner, such as in this track, the effect is highly spiritual. Perhaps it may be compared to meditating after drinking several pots of coffee. In any case, it creates a number of cerebral challenges which help create the desired reactions in listeners. This entire work contains plenty of well-programmed bass. Primarily, it is in the form of pseudo-bass drum hits, but at around two minutes and twenty-two seconds, the well-programmed bass appears in a bass line briefly, helping establish the harmonic, ambient electronic tones, therefore conjoining the two separate entities briefly. Three minutes and fifty-five seconds into the song marks the beginning of the developmental section. The sounds heard throughout the song up to that point, as well as a couple new sounds, repeat in disjunct rhythmic patterns. Overall, this song effectively utilizes a number of techniques in order to create a very different, shocking, yet very refreshing sound world.

“Gantz Graf” – Autechre
[DVD Single at Amazon.com]
[CD Single at Amazon.com]
[Autechre at Amazon.com]

Autechre, a duo consisting of Sean Booth and Rob Brown, released Gantz Graf, which contains a CD and a DVD. The CD contains three tracks, the first of which is the song “Gantz Graf.” The DVD contains the music video for “Gantz Graf,” which translates the aural characteristics into visual material consisting of computer-generated polygons in movement with the music. This song contains some of the most shocking electronic textures of any IDM track. Sean Booth commented, “We are quite interested in architecture generally.” Their music contains a sense of controlled visual and textural elements in a musical context (Shapiro 183). Approximately one minute into the song, a strange electronic sound bursts “upward,” high into the sky. The sounds seem to visually move in different directions. This is definitely exploited in the music video, which visually represents these movements. At about two minutes and fifty seconds, the music seems to enter a more lyrical section. The steadier rhythmic pulse becomes much more camouflaged, creating a very cerebral and spiritual characteristic. At three minutes and fifteen seconds, a new section develops which exploits the concept of groove in a very different context. This continues on through to the end of the work. Throughout the work, strange, swooping, well-programmed bass sounds morph and twist, creating very exciting vibrations that certainly stimulate listeners who are experiencing the work with a subwoofer. This song is definitely an extremely effective IDM track that utilizes a variety of disorientating techniques and effects in a very sophisticated manner.

CONCLUSION: The Future?

Intelligent Dance Music’s sense of innovation will continue to expand even further, resulting in incredibly different and shocking music. As the music world becomes more and more aware of such music, those music listeners who are far more used to more traditional popular music may very well gradually transition into this world in hopes of experiencing music in ways they never have before. Already today, the characteristics mentioned in this paper are gradually beginning to appear in more popular music. It is possible to project that musicians will utilize these techniques more and more in the future. Music today is at a very interesting point of evolution. Concepts of melody, harmony, and rhythm, as they have been known for hundreds of years, are beginning to disintegrate into a music which focuses on how listeners react. Music will gradually begin to be written with its function in mind rather than its structure or other musical elements. It is a very exciting time, and who knows what the future of Intelligent Dance Music will have to offer. In any case, it will certainly be incredibly refreshing and breathtaking, taking music to levels that will create emotional reactions in listeners greater than ever before in the history of music.

WORKS CITED

Aphex Twin [Amazon.com]. Come To Daddy [Amazon.com]. Audio CD. Warp Records Limited [Warprecords.com], 31001-2, 1997.

Aphex Twin [Amazon.com]. Drukqs [Amazon.com]. Audio CD. London-Sire Records Inc. [London-sire.com], 31174-2, 2001.

Autechre [Amazon.com]. Gantz Graf [Amazon.com]. Audio CD and DVD. Warp Records Limited [Warprecords.com], 82560, 2002.

Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music [Amazon.com]. New Jersey: Prentice Hall, 1997.

Ernst, David. The Evolution of Electronic Music [Amazon.com]. New York: Schirmer, 1977.

McKissack, Fred. “Pushing the Squares.” The Progressive. August 1999: 40.

Prendergast, Mark. The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age Amazon.com]. USA: Bloomsbury, 2001.

Shapiro, Peter, ed. [Amazon.com]. Modulations: A History of Electronic Music: Throbbing Words on Sound [Amazon.com]. USA: Distributed Art Publishers, 2000.

Squarepusher [Amazon.com]. Burningn’n tree [Amazon.com]. Audio CD. Warp Records Limited [Warprecords.com], 53/Spy 7, 1997.

Squarepusher [Amazon.com], Go Plastic [Amazon.com], Audio CD. Warp Records Limited [Warprecords.com], 00852, 2001.